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Nami® Com Light
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| Price: | US$ 65.00 |
| ... is part of the Nami® Font Family, comprising altogether 3 fonts in OpenType Com format. |
| Character set features: |
       483 characters 
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| Character maps: | Encoding map | |||||
| Product is contained in: |
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| Technical information | ||||||
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By Adrian Frutiger
Much has been written about the evolution of type: how the forms of our letters took shape, from the roman capitals to the Carolingian minuscules, and how the Latin alphabet was then, essentially, finalized for eternity by the first printing presses of the Renaissance Age.
Looking back from where we stand now, we could say that the original forms of our uppercase letters are around 2,000 years old, while those of our lowercase letters would be over 1,000 years old. And [...]
Adrian Frutiger has spent decades working very closely with Linotype. In the many years of this fruitful collaboration, we’ve accumulated a number of photographs of Adrian Frutiger. These images show glimpses of the different periods and highlights of his life so far, including pictures of him working in his studio, moments of him along with his typefaces, and even more recent shots of him working together with Akira Kobayashi.
We hope that you enjoy browsing through these images.
Designed by Adrian Frutiger and Akira Kobayshi, 2006
Nami®, the Japanese word for “wave,” is the latest collaboration between Adrian Frutiger and Linotype’s Type Director, Akira Kobayashi. This typeface family is the most humanist sans serif ever designed by Adrian Frutiger, and it has an interesting twist: lapidar alternates that may be surfed through with the help of OpenType-savvy applications.
Adrian Frutiger began the design that would blossom into Nami during the 1980s. [...]
4. Frutiger
Frutiger® – the sans serif classic.
Get the original from Linotype as single fonts, in a Value Pack, or on CD.
About Frutiger
Famous type designer Adrian Frutiger created a masterpiece with this typeface. Faced with the challenge of designing an exceptionally legible type for the signs of the Charles de Gaulle Airport in Paris, he developed the now legendary Frutiger in 1968. The original Linotype typeface has since been expanded to include 14 weights and is of course not just [...]
Should it be a sans serif, a text face, a script font, or perhaps blackletter? Every month, selected fonts are chosen from the depths of Linotype´s collection for your perusal. Check out this month´s medley!
Über die Lesbarkeit
Unter dem Einfluss der verschieden Druckverfahren hat die lateinische Textschrift subtile Formveränderungen erfahren. Grundsätzlich neue Formen sind jedoch keine entstanden. Als Demonstration dafür sind acht a in den meistgelesenen Schriftstilen mit einem Drehraster versehen und übereinander kopiert. Das Resultat zeigt eine erstaunliche Übereinstimmung.
Portrait
We can read because we perceive elements and forms which are familiar to us. So in order to even recognize words, we must first decipher the elements which make up the shapes of the letters – a process which involves the interplay of myriad aspects. To a certain degree, many of us are aware of these aspects. Yet Adrian Frutiger knows about such shifting dynamics in perception in a way no other person can, as he has been instrumental in researching the subject and over several decades [...]
Find further Font Features in our Font Feature Archive.
Typographic Tip of the Month from Linotype’s Type Director Akira Kobayashi!
October 2007: A few words on letter spacing
Optical Spacing Option in Adobe InDesign
In Adobe InDesign, there is an Optical Spacing option available for the spacing between individual glyph pairs, or kerning. The Optical Spacing selection overrides the metrics information stored in the font file itself, or specific values that one enters [...]
With the invention of the printing press, a longing for formal refinement began to awaken. First leaning on the bold and distinct typography of incunabula, styles gradually progressed to culminate in the decorative classical fonts of the 17th and 18th centuries. This growing preoccupation with ever greater refinement was also reflected in the architecture of the times, as well as in objects of daily use, especially furniture. But also the fashionable attire worn by the upper classes of each [...]
Adrian Frutiger and Akira Kobayashi discuss the typeface´s development
Sketches from the design phase
Early drafts of the lapidar characters
This sketch illustrates some uncial forms that did not make it into the final version
About Nami® Light ...
Designer: Adrian Frutiger / Akira Kobayashi, 2006
Nami® Light belongs to the Nami® Font Family which is part of the Linotype Originals.
Nami, the Japanese word for "wave," is the latest collaboration between Adrian Frutiger and Linotype's Type Director, Akira Kobayashi. This typeface family is the most humanistic sans serif design ever to come from Adrian Frutiger, and it has an interesting twist: lapidar alternates that may be surfed through with the help of OpenType-savy applications. Adrian Frutiger began the design that would blossom into Nami during the 1980s. Although it would not be produced during the 20th century, it was quite forward thinking. The typeface included several seemingly avant garde alternates; these were "lapidary" versions of common letterforms. Revisiting the project in 2006, Akira Kobayashi reworked the concept into a working family of three typefaces. Each font contains 483 glyphs, including 11 alternates-two extra forms of the lowercase g, as well as new forms for a, e, h, l, m, n, r, t, and u.
Search this or similar products by the following keywords: Alternate, CE, Central European, Com, Frutiger, Humanist, Lapidary, Lexica, Sans Serif, 1980, 2000.
Nami is a trademark of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions.
Quality features
The Platinum Collection is the exclusive series of optimized classic typefaces from the Linotype Library.
XSF-Fonts are OpenType or TrueType fonts with an excellent appearance on screen at small sizes or low resolutions – especially engineered and optimized for exceptionally readable typefaces on computer screens using Microsoft® Windows operating systems.
XSF-Fonts are OpenType or TrueType fonts with an excellent appearance on screen at small sizes or low resolutions – especially engineered and optimized for exceptionally readable typefaces on computer screens using Microsoft® Windows operating systems.
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We reserve the right of errors and changes.